Be ready for your sixty-second chance to shine with Adrian Magson’s pitch correction

The ‘elevator pitch’ is not a myth. Well, not entirely. Originating in the film industry, it probably now consists of an electronic bombardment rather than accosting a producer in the street… although I’m sure there are some industry professionals who might correct me on this after having been stalked by a desperate writer.

The elevator or sidewalk pitch derives from the time it takes to sell the idea of a project between a producer exiting their cab, crossing the pavement/sidewalk and into an elevator, leaving the luckless writer talking to a pair of closing doors.

If we assume said producer is (a) fit, (b) in a hurry or (c) terminally disinterested, let’s also assume it takes less than a minute. Not much time to talk the talk, is it?

You might think this situation applies solely to the film world. After all, writers of books aren’t that pushy, are they? (Stifle your scepticism.) The concept, however, is pretty much the same. All writers have something to sell, and being able to talk clearly about your book is a must if you wish to take it further than your desktop.

Let’s assume you take the non-confrontational route and submit your work to an agent or editor at a pre-arranged ‘pitch’ session. You’ll have to describe what your book is about, because right now it’s either a pile of paper or a file on your PC, with no cover image for instant identification and only your synopsis to explain it for you. It’s basically just you and your ability to talk a good tune while remaining calm in the face of a total stranger – among a roomful of other hopefuls all doing the same.

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